#but the song was a bop & much more memorable so nobody cared!

[festeringfae]

People talk about the season drop not being as good as appointment television sequential drops creating a literal Season out of new episodes of a show, and they are right.

One thing I haven't seen in contrast, though, is the penny dreadful effect full season drops have. As in, binge watching creates a much larger tolerance for continuity errors, ESPECIALLY in mystery stories of any kind, because of the rate at which new information is provided.

[thaliagrayce]

i've been talking abt my voltron playlists and @iveofficiallygonemad asked to hear them and i want to share with anybody who wants!! i know they're not perfect, i'm working on them & trying to make them better. if you have any recommendations for any of them, let me know!! there's like A Lot and i want to give a lil explanation for most of them, so i'm putting them under the cut ^-^

SO first i have my favorite one <3 it's just. all of them. it's the whole team. it's a mess and it's a bunch of different genres because it's them fighting over the aux cord on a road trip. it's them trying to make each other laugh or annoy each other or play something catchy enough it will infect everyone in the vicinity with brain worms.

Hunk: i'm pretty happy with my Hunk playlist! chill vibes. he strikes me as the kind of guy who listens to calm music to try to find his own calm, and that's what i got here :)

Pidge: this is messier and less cohesive than my usual playlist because frankly i think pidge would have a shit taste in music. all over the board. this is a mix of meme songs and 8-bit covers and vocaloid and stuff that i think pidge would genuinely connect with, and i think pidge listens to all their music on shuffle without any regards for genre or mood because they're a gremlin. nobody gives pidge sole control of the aux.

Coran hears 80's music for the first time and loses his mind. He thinks ABBA is humanity's single greatest achievement.

Lance: i have ideas about where I'm going with this but haven't really settled yet. Lance seems like the kind of boy that loves to dance (is that canon? i forgot) so most of these are Bops That Make You Move in some way or another. he likes to present an upbeat face to the world, so there's no angsting in this playlist! we are clinging to the things that make us happy with both hands until our knuckles turn white!

Keith: i'm gonna be honest. i made him a playlist but i honestly don't think he cares about music very much. it's very important to some people! he's just not one of them! i haven't cracked this playlist open in a while but i'm pretty sure it's full of songs that i think he would conceivably train/work out to.

Shiro: this playlist involves the dumbest headcanon i have for shiro that has just not left me alone since i first thought of it. most of the playlist reflects the fact that he had an emo phase in middle school (that one isn't a headcanon, you just have to look at him to know) but BUT there are a few songs on here that are on here because. little known fact. he also went through a Twilight phase that he told nobody about. (keith knows. keith was there.) he has the entire twilight soundtrack memorized. he moved past the story but the music stays forever. he used to daydream about slow dancing to Flightless Bird, American Mouth. the first time Coran mentions that they have to avoid a place because there's a supermassive black hole there, he has to bite his tongue in order to keep a straight face. do NOT ask me why i believe this so wholeheartedly.

Allura's playlist sucks right now. I think it's because in my heart of hearts i know that, were she on earth today, she would go fucking nuts for taylor swift. i have ambivalent feelings for taylor swift. i cannot do allura justice like this. if you see my vision and have recs as to what might actually fit her, PLEASE.

Klance: i haven't done it yet but i'm gonna go through this and sort it to be a sort of progression of their relationship, starting with the more combative Rivalry songs, then slipping into "oh shit oh shit" songs, then maybe ending on the more lighthearted purely romantic songs <3

(i have two songs in a shallura playlist which does not at all encapsulate how much i'm obsessed with them. the tiny cop inside my head is just constantly screaming at me that i'm going to get yelled at for liking shallura. i am going to kill the cop inside my head.)

[crystal-methionine]

The Post-Eurovision ranking and comments from an American that nobody asked for:

1. Switzerland 🇨🇭 Gjon’s Tears - Tout l’univers: I absolutely was enamored by this song, its artistry, and the artist. He can really sing and one of my early favorites from this year. So happy for him to get in the top 3 bc it was well deserved. 100/10

2. Italy 🇮🇹 Måneskin - Zitti e Buoni: Deserved winners. As queer as you can get and I am here for it. Another early favorite of mine constantly fighting with Switzerland for the top spot. 100/10

3. Iceland 🇮🇸 Dadi og Gagnamagnid - 10 Years: A beautiful song dedicated to his wife and deserved Top 5 for sure. Last year’s song would have won hands down so I’m bummed he couldn’t win the first one for Iceland but brilliant song and I hope the group stays together to produce more music. 99/10

4. Bulgaria 🇧🇬 Victoria - Growing Up Is Getting Old: Eurovision fandom will forever say Imaginary Friend or Ugly Cry was the better song to send, but I don’t think they would have won the contest either. This year was strong, and I personally think Growing Up was a perfect choice from Victoria. It deserved top 10 so I was pissed that it came 11th on the night and received so few televotes. 97/10

5. Ukraine 🇺🇦 Go_A - SHUM: To all y’all who said this wouldn’t qualify when the new version came out, eat those words hun. This was a masterpiece, and the live performances just elevated it further. Honestly, Kateryna could step on me, and I would let her. Who doesn’t love an ethnic modern fusion rave? 95/10

6. Serbia 🇷🇸 Hurricane - Loco Loco: I honestly have to say when it came out, it was never breaking my top 20, but here we are. This group of gals is amazing. The choreo, hairography, and the still great vocals won my gay ass over. They served and deserved top 10 in my eye. 90/10

7. Greece 🇬🇷 Stefania - Last Dance: Much like Serbia, I kinda dismissed this as a top 10 song at first, but after many listens and then the live shows, it was one of the best songs this year. Last year’s song was nowhere near a qualifier for me, and then I thought they had a good chance of being top 5 this year. Amazing improvement and can’t wait to see what comes next from Stefania. 80/10

8. Malta 🇲🇹 Destiny - Je me casse: Not going to lie, the studio definitely did more for me. It was up with Italy and Switzerland for winner contention until the live shows. Don’t get me wrong, Destiny is still amazing live, and the song is a deserved top 5 song. However, the costume and staging just really didn’t add to the song and I think detracted a bit. Her song last year was also much better in my opinion. 75/10

9. San Marino 🇸🇲 Senhit ft Flo Rida - Adrenalina: Oh boy this was a party, and the fact Flo Rida actually was there made it even better. The staging and costuming was absolutely camp, and I was here for it. This was definitely not underrated by fans beforehand, but the jury and televote were beyond robberies in my opinion. Granted I know the backing vocals were carrying the chorus a lot so in terms of vocals, I can see where this song got dinged, but this should have been San Marino’s best ever result at Eurovision, and it wasn’t so I’m mad. 60/10

10. France 🇫🇷 Barbara Pravi - Voila: The new Edith Piaf and probably one of the most representative of the country’s culture for a song. A definite deserved runner up on the night but for me 10th place. I loved the staging, the costume, the emotions. It was all right for Eurovision and me. 50/10

11. Cyprus 🇨🇾 Elena Tsingarou - El Diablo: Come through Cyprus with another female pop banger. I’d say if the formula ain’t broke don’t fix it, but wasn’t really enough to crack top 10 this year. Another early favorite of mine this year but soon got eclipsed. Still going to be listening to El Diablo for a while. 49/10

12. Russia 🇷🇺 Manizha - Russian Woman: I can’t lie that at first, this song was absolutely trash to me but quickly rose the ranks and became one of my faves. Same thing happened last year with Uno. We also always love a good female empowerment moment with the native language thrown in. Manizha is a girlboss without the gaslighting and a true queen. Deserved top 10 the night of. 40/10

13. Lithuania 🇱🇹 The Roop - Discoteque: An earworm for first listen and was top 10 for a while for me but like Cyprus, lost out to some others. No doubt this is a deserved top 10 the night of. 35/10

14. Croatia 🇭🇷 Albina - Tick Tock: The first song to get me pressed on it’s placement. Deserved to be in the final over both Israel and Norway (please come for me I don’t care). They freakin rocked that stage during the semis and the song is absolutely a bop. Albina deserved better. 30/10

15. Sweden 🇸🇪 Tusse - Voices: A beautiful song by an amazing artist. Sure the lyrics were a bit cliche Eurovision but guess what...it’s Eurovision. I can hear the voices. Keep carrying on Tusse. 25/10

16. Albania 🇦🇱 Anxehla Peristeri - Karma: This song grew on me a lot. I liked it but wasn’t a don’t skip for a while on my playlist. The live performance changed it for me. She slayed and the staging was everything for Miss Thing. Also native language brownie points. 24/10

17. Finland 🇫🇮 Blind Channel - Darkside: Before you come for me for having this at 17th, keep reading. I’m not a big fan of the lyrics but the song is absolutely fantastic. This style of music isn’t something I pull out on a playlist often, but I had my middle fingers up for this one (and pointed at Germany but we’ll discuss later). Deserved top 10 as they rocked it on stage. 20/10

18. The Netherlands 🇳🇱 Jeangu Macrooy - Birth of a New Age: I absolutely do not understand the hate for this song. I was also a huge fan of Grow last year so I guess I shouldn’t be surprised for being generally alone again. The fact it got 0 points in the televote and only 11 in the jury is not surprising but extremely disappointing to me. This song is a masterpiece much like the ones ranked above it. Jeangu, you are amazing and deserved so much better than this. 20/10

19. Belgium 🇧🇪 Hooverphonic - The Wrong Place: Fantastic song but fantastic artists. Always here for a dark pop moment. Gonna go get my own Johnny Cash T-shirt. 15/10

20. Spain 🇪🇸 Blas Cantó - Voy a Quedarme: Such a heartfelt ballad. I enjoyed it quite a bit and don’t understand the hate it has. Didn’t deserve 0 points in the televote. 14/10

21. Denmark 🇩🇰 Fyr og Flamme - Øve Os På Hinanden: Look we all know this song is cheesy but it’s the cheesiest Velveeta queso loco so it’s ranked so high in my opinion. This is a nod to the whacky and weird Eurovision I love. It’s always in my head and I always find myself dancing along. Deserved to be in the final over two of the songs in Semi 2. 13/10

22. Azerbaijan 🇦🇿 Efendi - Mata Hari: As far as the song goes, it’s enjoyable, but the stage show was a hot mess in my opinion. The choreo looked a mess and the different sheer legging configurations on the backup dancers was not the correct fashion choice in my opinion as I was distracted by the thought of why are they all different. Did deserve their spot in the final though. 12/10

23. Moldova 🇲🇩 Natalia Gordienko - Sugar: The studio version of this song is a heavily replayed one on my playlist bc of the drop and dance-ability of the song. However the downfall of the song was it’s live performance. The staging was fine and the choreo was great but those attempted sexy whisper vocals were not the choice to go with. I don’t want to sugar-coat this 😝 so they were terrible. Glad she made it but I felt her position in the final was one of just pure luck. 11/10

24. UK 🇬🇧 James Newman - Embers: The nul points was a huge ass oof. This song isn’t bad but I can see where people didn’t vote for it bc it’s not super memorable in terms of who all was participating this year. I like the song and always sing and dance along. 10/10

25. Israel 🇮🇱 Eden Alene - Set Me Free: This is how to do a revamp and be successful. Eden is a fantastic artist who can clearly sing, but the live performance was not all that sans the whistle tones. Yet the whistle tones aside, the song is lacking a lot. When looking back at the songs available, this one should not have been the selected one. I was always on the fence with this one and still am. 9.5/10

26. Czechia 🇨🇿 Benny Cristo - Omaga: The live definitely hurt this song in the first minute and a half. The second half was absolutely what should have happened in terms of vocals. Still like the song and listen to it often. 9.25/10

27. Ireland 🇮🇪 Leslie Roy - Maps: This song was a victim of a super strong bloodbath and shoddy staging ideas. The song is arresting and a bop. Leslie’s gruff voice mixed with the modernized Irish sounds is a match made. The staging of this song that required Leslie to run along with the beat and the distracting and constantly changing bits of the performance we’re definitely it’s downfall. It didn’t deserve last place in Semi 1 though. 9.25/10

28. Portugal 🇵🇹 The Black Mamba - Love Is On My Side: I am the first to admit that while I don’t like the song, it deserved the final. The staging and atmosphere elevated the song. 9/10

29. Austria 🇦🇹 Vincent Bueno - Amen: In the battle of the Amens, this one wins solely based on the classy and amazing staging. Don’t get me wrong, Slovenia’s was also elevating but this one did it better. 8.5/10

30. Australia 🇦🇺 Montaigne - Technicolor: This song is a fantastic one for studio. The live since the Sydney Mardi Gras performance has been rough and didn’t necessarily improve. I feel bad bc I do really love this song but it definitely didn’t deserve to qualify. This being said, I love Montaigne, and Don’t Break Me was my runner up last year, and I still listen to it as my anthem when I’m feeling down. I wish I could rank this higher but I can’t. 8.5/10

31. Romania 🇷🇴 Roxen - Amnesia: This song is great in the studio but it got old real fast for me and I don’t know why. This mixed with the poor vocals and the bizarre costume:stage combo was really what did this in and got this low in my ranking. 8.25/10

32. Slovenia 🇸🇮 Ana Soklic - Amen: The loser of the Amen battle, but just barely. The song and vocals are better in my opinion but the whole package was just barely edged out in the end. 8/10

33. Latvia 🇱🇻 Samanta Tīna - Moon Is Rising: Look, this song is nowhere near as good as last years. The queeeeeen sashayed away with that annoying trap beat. 8/10

34. North Macedonia 🇲🇰 Vasil - Here I Stand: Leave it to the gays for bringing musical theatre to Eurovision. The song honestly isn’t that special or memorable but he’s higher up bc his stage and voice are amazing. 7/10

35. Norway 🇳🇴 Tix - Fallen Angel: A great message on mental health outside of the song and Tix seems like a quality fella but I do not like the song. I preferred it in Norwegian. And this low ranking is not at all influenced over him beating out Keiino (but maybe a slight bit tho). 5/10

36. Estonia 🇪🇪 Uku Suviste - The Lucky One: While this was 1000% better than last years entry, it still was relatively boring. The stage was equally as boring so sorry Estonia, but you didn’t make the mark. 4.5/10

37. Poland 🇵🇱 Rafael - The Ride: This throwback to the 80s was a bad one. The attempt at a one hit wonder vibe really hurt it along with the artist’s terrible vocals. Also half the time, he was behind the pyro and relying on backup vocals. 4/10

38. Georgia 🇬🇪 Tornike Kipiani - You: You really should not have to wait so long for the more upbeat rock ending of this. If it was that last 30 seconds for 3 minutes, it would be much better. A definite step back from last year. 1/10

39. Germany 🇩🇪 Jendrick - I Don’t Feel Hate: Jendrick might not feel hate but I do bc that is all I feel when this song comes on. 0.5/10

[1dreality]

Zayn Malik was never the celebrity you thought he was. If it wasn’t already obvious from his detached, often melancholic interviews in the wake of his 2015 departure from One Direction, it will be from the title of his second solo album. The very elongated 27-track Icarus Falls is comprised of more of the sparse R&B that Malik has perfected since his first release Mind of Mine in 2016, but like its titular myth is also indebted to themes of incredible ascent and crushing decline.

A decline not of Malik’s career, it should be said, but rather of his own mental health, the album serving as both an intimate meditation on Malik’s life so far and a dire warning about the trauma of instant fame. It all leads to one obvious question: Is Zayn OK?

In an age of millennial openness and Instagram confessionals, Malik remains something of an outlier: an enormously famous and highly visible celebrity, but one whose ambiguity allows us to project much onto him. In our collective consciousness, he has been the 1D-fleeing villain, smoking cigarettes, being mean to his bandmates on Twitter and looking miserable as well as the “soft boy” pin-up, a vulnerable figure in desperate need of a hug.

Much of that ambiguity is intentional. Along with declining to tour Mind of Mine, Malik is often press-shy, choosing not to take part in TV sit-downs or play the social media game in an era in which somebody like Ariana Grande spends much of the waking day interacting with her fans on Twitter and Instagram.

And while Malik has been open about some of his past struggles, including his battle with an eating disorder at the height of his One Direction fame and consistent difficulties with anxiety, they’re often revelations that feel accidental in nature. We learn of them during an unexpected moment of truth-telling between him and a journalist, the subject quickly changed soon after, or through lyrics that are just descriptive enough to imply deep truths. Even talking about his anxiety in an essay for Time Magazine felt like a necessary course-correction after a string of cancelled gigs led to unflattering rumours about his health in the press.

Whether Malik’s public persona is intended as a protective mask or not, it is still difficult, particularly in the wake of Icarus Falls, not to feel something for him. After all, his jump from a working-class kid to an international superstar worth a reported $50 million, practically overnight, is the sort of trajectory most of us would struggle with at the age of 40, let alone at 17 when Malik auditioned for The X Factor.

Icarus Falls doesn’t cover any new sonic ground for Malik as an artist. It sees him return to the same well of threadbare, silky R&B that helped Mind of Mine easily trounce his fellow One Direction bandmates in the “best first solo record” stakes. But it does whirr with a noticeable sadness, Malik repeatedly mourns the peace of his pre-X Factor past and beats himself up for mistakes he feels that he’s made since. And when he speaks of emotional pain, it often sounds not like something confined to history, but rather something he’s dealing with every day.

“I’d rather be anywhere but here,” he sings on Good Years. “I close my eyes and see a crowd of a thousand tears / I pray to God I didn’t waste all my good years.” On Insomnia: “I’ve been roaming and strolling all in the streets / Burning my eyes red, not slept for weeks.” On Back to Life: “I been flying so long / Can’t remember what it was like to be sober.” On Satisfaction: “Nobody said this would be easy / Nobody gave me a rule book to follow.”

Even typical love songs are fatalistic in nature, talk of Armageddon running through both Flight of the Stars (“I will follow / Hold you close standing on the edge of no tomorrow”) and Tonight (“Love me like tomorrow’s never gonna come”), while much of the album nods to an unnamed great love in Malik’s life that he needs to overcome incredible odds to be with – nothing new for love songs, but given a greater weight when paired with his statements over the years. Because if we know anything about Zayn Malik, it’s that he often can’t stand being Zayn Malik.

Through much of the little press he has done, Malik has expressed unease with most of the trappings of fame, particularly the assumptions that he ought to be personable and friendly with industry figures or musical collaborators. And when it comes to One Direction, he still appears burnt by the experience. While he told Vogue in November that he has recently been able to see his time with the band as “an amazing experience,” despite the “bulls---” of what he refers to as “the machine,” he also told GQ in June that he didn’t make any actual friends during the peak of his fame: “I definitely have issues trusting people.”

In the numerous articles that pop up every winter recalling how good The X Factor used to be, clips are embedded that showcase many of its most memorable contestants, and every year it becomes that bit more shocking how much One Direction looked like children during their time on the show. The scrawny limbs, those Justin Bieber haircuts, the awkward school-talent-show bopping and shuffling. It somehow worked, enough at least to turn them into a tween phenomenon, but in hindsight it’s indefensible that they were pushed as significantly as they were.

There was always something deer-in-the-headlights about the band in its early days, a sense that at least a few of them had been pulled along for the ride as opposed to having a firm grip on the steering wheel. The hunger so visible in pop bands of similar notoriety, whether manufactured or not, wasn’t always visible – and while all of them have transitioned into stable adults who are, for the most part, comfortable in the spotlight, their jarringly different responses to fame remain clear.

It’s important to remember, for context’s sake, that Malik was always a reluctant star. Only attending his original X Factor audition after being guilted by his mother into waking up early and making the journey there, he was, in his own words to The Fader, “a lazy teen”. And even during the audition stages, he expressed reluctance to properly join in, walking off stage during a choreography rehearsal and having to be coaxed to go back. At the time, Malik’s reaction registered as a petulant strop, but now feels oddly prescient.

Of Malik’s One Direction bandmates, Harry Styles was always the most naturally inclined to superstardom – such an affable schmoozer and networker that it was quickly no longer surprising to see images of him palling around with Mick Jagger or Stevie Nicks. Liam Payne always bore the personality of someone very eager to be seen, lack of self-awareness very much included, while the perpetually chipper Niall Horan has always simply appeared very, very happy to be there. But both Malik and Louis Tomlinson have often visibly struggled, uninspired by the more performative and fraudulent elements of celebrity, or the levels of attention handed to them by Simon Cowell and co.

“What I really can’t ever get used to, or really enjoy, are these super geared-up celebrity parties,” Tomlinson told Noisey last year. “No one actually cares. You see people who are beyond self-absorbed, and that’s why it can be a dangerous place.”

Malik has echoed similar sentiments. “I don’t work well in group situations, with loads of people staring at me,” he told GQ. “And when you say ‘star’… everyone wants you to be this kind of character that owns a room or is overly arrogant or confident. I’m not that guy, so I don’t want to be a star.”

What’s odd is that, for all his claims, Malik does bear all the superficial trappings of modern stardom. He’s a fashion darling but is permanently magnetised to the covers of cool indie magazines. Furthermore, his on-again/off-again relationship with supermodel Gigi Hadid has, since 2015, become a Generation Z equivalent of Johnny Depp and Winona Ryder in its aesthetic-heavy, era-defining popularity.

But Malik is also simultaneously detached. The GQ profile, his most extensive recent interview, bears all the hallmarks of a journalist struggling to fulfil a word count because of an uncommunicative subject, writer Carrie Battan even expresses Malik’s tendency to reply to her questions in “friendly but anodyne one-liners.” Like the very best of pop idols, from Britney to Beyoncé, Malik is so compelling principally because he’s so hard to read. But this can also be a poisoned chalice: every expression of doubt or self-pity determined to be a cry for help, every revelation shaping an image that may or may not be real.

It means that listening to Icarus Falls isn’t an entirely joyous experience, Malik’s lyrics painting a picture of a young man still working through the discomfort of his sudden fame and the trauma of a moment in the spotlight marred by illness and fractured relationships, many of its scars still visible today. But it’s also a record that you can’t help but admire as a result, especially if it serves as a form of catharsis for him.

In the decade since Britney Spears was forcibly taken to the hospital surrounded by hundreds of paparazzi photographers, our collective relationship with the idea of fame has greatly altered, particularly for a generation who watched Amy Winehouse essentially die before their eyes. The one beneath them are currently coming to terms with a raft of recent pop star crises, from Demi Lovato’s overdose to the deaths of artists like Mac Miller and Lil Peep.

For all the obvious charms in Malik’s life, from his incredible fortune to a kind of artistic freedom that he never had in One Direction, you’d have to be particularly cold not to feel empathy for the sheer strangeness of his adult existence; a world of rampant, maddening attention that has historically led even the strongest of stars into tragedy.

The Zayn Malik of today is a little bruised, a little listless, his magazine profiles never complete without references to the cloud of marijuana smoke that lingers around him, or his need to lock himself away from the world. It doesn’t sound like the most ideal of outcomes for a man who calls himself a pop idol Icarus and sings with whispery detachment that he has “[flown] too close to the sun.” But we can only hope that it at least serves as a parachute.

[betterthinkaboutittwice]

Andrew’s Top 10 Kpop Title Tracks of 2018

Hello again, it’s me. Yes, I’m still trying to make this a thing. Nobody cared in 2015, then my 2016 list got a decent amount of notes, then that dropped off by a lot for my 2017 list, so we’ll see what happens this time. I hope there’s even a couple folks out there that enjoy reading this, but even if there’s not, I still enjoy putting it together and writing it, so here we are. Quick refresher on how this works, I limit myself to title tracks (and/or songs that have a MV and were promoted), link their MVs, and then give a quick write-up of why I picked them, all listed in descending order from 10 to 1. I’ve changed the name from “Top 10 Songs” to “Top 10 Title Tracks” because I’m thinking of doing a separate list for b-sides or non-Korean releases. On that note, let’s get it; list under the break~

10. KHAN - I’m Your Girl?

The tenth spot on my list is always a dogfight, and my honorable mentions list is always long. This year, the debut song for KHAN (composed of former The Ark members Jeon Minju and Euna Kim) won the fight, and I’m not gonna lie, a solid part of why is based in the gay undertones of this song and MV (and honestly, they’re really not undertones, the lyrics are pretty frank about it). Honestly, though, I just really adore the chemistry Euna and Minju have always had together, and I’m so happy they’re back making music together. I’m Your Girl isn’t the fanciest song out there, but it is a bop and a half and will definitely be one of the songs I think of in future when I remember 2018.

9. gugudan - Not That Type

At spot nine, there was another fight, but it was between songs by the same group. The loser of that song will appear in my honorable mentions later. As for the winner, Not That Type was something I’d been hoping gugudan would do ever since they debuted. Their Produce 101 trio (Sejeong, Mina, Nayoung) have always had a certain sass and badassery about them, and even in previous comebacks you could see the other members had it in them, too. This is the song they needed to let it out, and boy did they. This track and MV had an attitude we don’t see much as of late, and the song managed to have that attitude without seeming try-hard or having an overplayed sound. One particular thing it did that I really liked was how it never entered the chorus the same way or on the same beat, keeping the listener on their toes. All in all, a breakout song for gugudan that had to make my list.

8. IZ*ONE - La Vie en Rose

This song, at number eight on my list, took some growing on me. When it came out, I never pictured it being on my Top 10 of the year. In fact, I didn’t even think I’d listen to it much at all. However, there’s just something about it, something about the chorus, that made it unforgettable to me. It worked its way into my brain and wouldn’t leave. Still to this day it won’t leave. It’s quickly become one of my most-played songs of the year. I followed Produce 48 all the way through, and while I wasn’t entirely satisfied with the final lineup, I must say they’ve really grown on me. Whoever produced this song did a brilliant job, because each member has a part that fits them like a glove, and no one really feels either over or under-exposed (though I could certainly ask for a couple more lines for Nako). Just a very solid song from a dynamic group that deserved to make my list.

7. Sunmi - Siren

Dropping in at spot number seven for the second year in a row is everyone’s favorite lesbian and best follow on twitter, Sunmi. Does she release anything other than bops? I think not. She revealed recently that this song was actually originally a Wonder Girls production, and released a quick snippet of the original recording from WG as a band in 2016. While I most definitely wish we could’ve heard the full group’s take on Siren, I’m glad Sunmi revisited the track and made it her own, ‘cause it’s really a stroke of catchy genius. Get away outta my face! More like get away outta my head. I just could not justify keeping this song off my list, not with how often I find myself subconsciously singing or whistling it.

6. WJSN - Save Me, Save You

Another artist that released multiple jams this year, WJSN comes in at number six. While I loved Dreams Come True, there was just something very special about Save Me, Save You. It felt like they finally nailed their sound again. The last time they truly hit it on the head was with Secret, and it feels like they’ve been trying to get back there ever since. Well, they did it here. This track has exactly that dreamlike quality to it, that beautiful cosmic sound that their name would lead you to expect. Add in nearly properly balanced line distribution (except for Dawon, #JusticeForDawon), and a particularly interesting choreography, and you’ve got a recipe for one of the best songs of the year. With their next comeback on the horizon, I’m hoping they can continue the trend.

5. (G)I-DLE - Hann

IDLE really leapt onto the scene in 2018 with their debut, but it’s their followup effort that makes my list at spot number five. The main thing I can say about IDLE is that, as rookies, they have no business being this good. They’re all incredibly talented, their stage presence is off the charts, and both of their title tracks thus far are certified bops. Rookies don’t do that! Yet, here they are. The chorus of Hann is simply unforgettable, both musically and visually. Vocals, raps, visuals, choreo, this song has everything you could ever want and it has them in spades, which is why it leads off the top half of this list.

4. GFriend - Time for the Moon Night

It wouldn’t be a kpop Top 10 without GFriend on it, and here they are at number four. If you’ll recall, I was probably the world’s biggest fan of their first “different” release, Fingertip, naming it my Song of the Year in 2017. TFTMN arrived as their second effort at a more mature concept, and I think they really killed it here. Not only is this track a more mature GFriend, but it is also still very distinctly GFriend. For their entire career, these girls have had a sound all their own, and TFTMN proved unequivocally that they can maintain their signature sound while striding into new conceptual territories, and for that alone it would make my Top 10 of 2018. It certainly isn’t hurt by the fact that the chorus is incredibly memorable, the melancholy-yet-upbeat tone is right up my alley, and the choreo is dope as hell.

3. fromis_9 - Love Bomb

The song that made me fall all the way in love with what is now essentially my second bias group comes in at number three. Honestly, I was actually expecting this to be my Song of the Year for 2018, but a couple other songs reminded me who’s boss. That’s to say nothing against Love Bomb, of course. I mean, imagine a single song making you fall head-over-heels in love with a group whose names you didn’t even know! Going into this release, I legitimately only knew Gyuri (from Produce 48) and Jiwon (way back from SIXTEEN). Now, a couple months later, I know them all better than I ever thought I would. As for the song, this is honestly one of the happiest songs that came out this year. By that I mean that it never fails to put me in a good mood. There’s just something truly special about this song. Moreso even than the song, it’s the girls’ singing; they have a way about them, where they always seem to put feeling into how they deliver lines. I can feel this song, and it wouldn’t change that even if there were no instrumental included; their singing is so incredibly emotional, it’s just special.

2. Chungha - Roller Coaster

The earliest release to make it on my list this year, coming in at number two is one of the bops of a great month of January, Roller Coaster by Chungha. I’ll be honest, this song really had a good argument for being #1 on the list. If producers went into the studio and said “we need to make the perfect song for Andrew,” this is what would’ve come from it. It’s funny, actually, because if you go back to when this was first released, I was lukewarm on it, but now it’s one of my most-listened to songs. The song has nearly every musical element that I love; it’s got that retro sound, those good synths, a gorgeous voice, upbeat, catchy, great choreo. I couldn’t ask for any more, other than to have her do more songs in this style because she absolutely kills it.

1. Red Velvet - Bad Boy

January was truly a great month for kpop songs, and Red Velvet’s Bad Boy has stood the test of time, making it all the way from January to year-end to claim the title of my Song of the Year for 2018. As I said when Bad Boy dropped, “Well fuck. Good luck, literally everyone else. I don’t see this being passed up as my song of the year for 2018.” Here we now stand, and that holds true. I said that Roller Coaster is the perfect “me” song, and it is. Bad Boy, though, is the perfect “me” song for my other main love in kpop; laid-back R&B. Everyone always seems to love the Red side of their music more, but I’ve always been about the Velvet side, and Bad Boy really gave me the perfect Velvet song. It’s everything I ever wanted from Red Velvet, and I’m not sure they’ll ever pass it up for me.

We’re at the end! As always, if you’ve read to this point, I love you, I thank you, and bless you. I’m not a professional writer or music critic, but I love putting together this list every year, and even if only one person reads it and finds it truly interesting, then it was worthwhile. I’m very proud of this list and the work I put into it, and I just hope y’all enjoy it. I began this list on January 1st, but it is now the 2nd (this seems to be a theme for me with this). That said, I wish you all a happy new year, and here’s to another great year of kpop!

Honorable Mentions

MOMOLAND - Bboom Bboom, gugudan - The Boots, CLC - Black Dress, Jeon Soyeon - Idle Song, J-Hope - Daydream, NCT 127 - Touch, DAY6 - Shoot Me, TWICE - Dance the Night Away, SNSD-Oh!GG - Lil’ Touch, Oh My Girl - Remember Me, TWICE - Yes or Yes, Yubin - Thank U Soooo Much, MAMAMOO - Wind Flower

[cometkins]

Ian’s Eurovision Opinions Nobody Asked For

All 41 songs for Eurovision 2020 are out so now it’s time to offer my unsolicited opinions as an American who can’t vote for any of these anyway. Alphabetical Order.

X means it’s a no from me dawg. O means I think it’s fine. * Means I enjoy it. *** Means it’s in my top 10.

Albania: Me tana was robbed. The Albanian version sounded better, the English lyrics are very contrived and cliche imo. Reminds me of Croatia’s song last year. She’s got a very nice voice tho, juries will probably like her a lot. X

Armenia: The revamp did nothing for this. The verses are okay, but the chorus sounds. Very bad I’m sorry. She seems very talented but this song is doing no favors for her. X

Australia: I really wanted Rabbit Hole to win over this, but it’s fine. I dont think this will stand out very much in such a ballad heavy year though. The clown makeup I still dont quite understand? But do you Montaigne lol. O

Austria: Bruno Mars meets Justin Timberlake and I’ll admit to being a basic bitch who likes this. I don't feel super strongly about it and I’d be a little surprised if it doesn’t qualify, but it’s fun. *

Azerbaijan: I thought I hated this at first because the chanting and some of the lyrics are really corny but I can’t get it out of my fucking head. The way she rolls her Rs in this song is wild. Also been missing some ethnic beats this year so I’m glad this has got SOMETHING... ***

Belarus: Her sparkly headpiece is cool. I dont have a lot of strong feelings about this in any direction but it’s not the worst song this year by any means. O

Belgium: Eh. Ehhh. It’s not bad but I’m a little bored with it. O

Bulgaria: I know a lot of people like this and are comparing it to Billie Eilish but I can’t get into Billie Eilish’s stuff so that’s prob why I’m not connecting with this at all. It’s not bad, I’m just not getting it I think. O

Croatia: Boring. A big voice is not all it takes. X

Cyprus: I wasn’t sure how to feel about this at first but it’s honestly kind of an earworm. I love darker EDM like this. I don't think it’s super memorable but I’d be surprised if it didn’t qualify. ***

Czech Republic: I really hope they roll back that revamp because it’s kind of noisy now. If they turned down the guitars I think it could be great, I can’t hear him at all! It’s a really cool and unique song though and I hope it qualifies. *

Denmark: This is sweet and it sounds good but I’m kinda meh on it. I liked it better when Belarus did it in 2017 lol.......... O

Estonia: Boring, contrived, next. X

Finland: I think this could’ve done better in another year, but 2020 is pretty heavy with ballads and emotional songs so it kinda falls flat in comparison. It’s not bas though and I wouldn’t be upset if it qualified. O

France: Boring, contrived, Switzerland brought a better French song lol. X

Georgia: I want to like this bc I always have a soft spot for rock songs and Georgia as a whole but the lyrics are. Bad. And it just feels like a lot of noise. Sorry. X

Germany: I was a little surprised by his voice at first, but I’m hooked now. I think it’s in my top 3 to be honest with you, Germany came to win after that sorryass 0 points last year. The summer bop we were needing. ***

Greece: This song’s cute! I think I’m a little old for it but she’s really talented, I hope they can continue the narrative from the video onto the stage. *

Iceland: I looove this. It’s corny in the right way, and the meaning behind the song is sweet. I think this will go far, probably in contention to win. ***

Ireland: This is so nostalgic in the best ways, I love Lesley Roy my new lesbian queen. I don’t think it’ll win, but I hope it does well. ***

Israel: I looooooooove this. More of the good ethnic vibes we’re really missing this year, I hope it does well. *

Italy: I just never seem to connect with Italy’s entries as much as other people do, with the exception of Soldi (robbed!). I don't particularly care for it tbh, but it’s not awful by any means. O

Latvia: This song has the same problem that Armenia does where the chorus and beat REALLY let this song down when it could be pretty good. It’s a pass from me. X

Lithuania: I fucking love this, The ROOP needs to come top 5 or I will RIOT. ***

Malta: Destiny is incredible and this song is a bop, I love it. An instant fav already. ***

Moldova: It sounds epic and cool but kinda falls flat overall for me. O

North Macedonia: This is fun! I hope Macedonia can keep doing well. *

Norway: Wild was robbed. I dont like this very much, sorry. O

Poland: Her vocal quality is super cool, and it’s a neat song. *

Portugal: Salvador Sobral did it better, sorry. X

Romania: I don’t understand what people hear in this song? It’s just not enjoyable for me. X

Russia: It’s been 24 hours and I’m in hell. Free me. I can’t stop listening to this. ***

San Marino: Never change San Marino. Love it. *

Serbia: We’ve needed a good girl group for ages now, and Hurricane are killing it. ***

Slovenia: Her vocal quality is super cool and she’s clearly very talented, but this song is pretty boring unfortunately. X

Spain: The most okay. I miss Miki. O

Sweden: The reign of Swedish men is over!!!! And they send three black women!!! I love The Mamas I hope they do well they deserve it! This song just makes me happy! ***

Switzerland: Idk how to feel about this? I think I might respond to it more when we get to staging and stuff. O

The Netherlands: Host countries tend to be notorious for terrible songs but this will come left side of the scoreboard for sure, Jeangu has a very handsome voice. *

Ukraine: YES. BITCH. THIS IS WHAT I WANT. So glad to have Ukraine back after last year’s fiasco. ***

United Kingdom: The UK continues to be an utter disappointment. X

[theparaminds]

At some point, every artist will ask themselves whether or not they’re upon the right path. The fork in the road is more confusing than ever. Passion versus possible comfortability. LAN Party is no stranger to such a fork, to such a moment of self-reflection. But it is the truth of art which guided his soul towards the truth: that creation is his salvation.

While the last years may have mirrored a rollercoaster for the Chicago artist, the few pit stops between rides was a wave of creative euphoria no challenge could upset. The free flow of expression and humanistic understanding was at a level nothing else in life could develop. Passion was David against the Goliath of modernity.  

And as the story goes, David arose the victor. LAN Party similarly is in a spot of victory. He is set upon the beginnings of a journey with limitless opportunity. A journey where every fork in the road is positive and where decisions made are not with the possibility of a misstep. The future exists on the horizon, and for LAN Party, it is time for the horizon to become foreground. 

                                                       -

Our first question as always, how’s your day going and how have you been lately?

My day is going good! I’ve been working on this song all day and I’m really excited about it. Lately, I’ve been busy with school, but I finally finished yesterday, so my schedule is going to be way freer.

For sure, having that freedom is beautiful. Did you feel a sense of impossibility with music with such a busy schedule?

Not impossible, it’s just harder for me to get into the right headspace when I feel like I have other obligations that I need to take care of. I also make some of the craziest shit at like 4am, so having to go to bed somewhat early was kind of a drag.

During that time of difficulty, did you ever have doubts about your commitment to music or is it something that could never die no matter what came up?

I’m going to school for audio engineering, so my schedule still revolves around music just from the recording perspective. I’ve never had serious doubts because of my school schedule, but when I first got to college, I definitely went through a rough year trying to figure out if the music was worth it or right for me. Eventually, I just experimented enough and found my strengths and what I wanted to do with music.

Absolutely, most creative-minded people have those moments at some point, if not constantly. But, how would you compare where you stand now with music to where you were when you first began? What challenges existed within that transition?

When I first started making beats, I was constantly trying to make stuff that I thought would fit an artist that I had in mind. I felt like I had to stay within certain constraints if I ever wanted it to actually reach an audience. When I started just making music that I would want to listen to, it was so much more rewarding and I realized that people would rather hear your unique perspective, and not necessarily your best imitation of someone else’s. It just took me a lot of time and frustration to come to that realization.

It’s a pretty large epiphany to have as an artist. Do you think part of that initial mindset was due to your influences at the time doing the same for other artists? Or were your influences more full-fledged artists that you were always trying to be more so like?

I think it was more that I felt like I had to be realistic and bend to the artists around me in order to get any kind of audience. So I wasn’t making the stuff that I was super passionate about, I was just trying to make other people happy.

Now that you’re more sure of your artistic, and I’d assume personal self; what would you say is the vision you've centered on with your music and what is it that you value within art?

Shit man, I honestly don’t have an overarching vision of what I want to do with music, I really just make whatever excites me and makes me happy in that specific moment. What I make is usually directly influenced by whatever I’ve been listening to lately or ideas that I think would be fun to try out. So I guess I have short term visions that I try to make happen, but no central focus for my music.

But maybe then the central focus is to always be happy and to combat any and all negativity persuaded by the outside influences of the world?

I would say it’s even simpler than that. It’s more just to make whatever that moment calls for. Whatever I think is “missing” or could be improved upon in music.

What do you feel this moment in music is missing then?

Nobody’s making bopping music anymore. We gotta do something about that.

You mentioned that you also care for music you're currently listening to and what you're currently influenced by. At this moment, what is that, both in and out music? What is it that you're finding to be your artistic motivation?

I’ve been really into Jim-E Stack lately. He has these big, natural drum tones and super sleek 80’s production but you can tell it’s modern, I’ve been using a lot of those elements lately. I think learning more about recording and engineering has also inspired me to record more real instrumentation and not be sloppy with how you record them. Other than that, my friends that I regularly make music with really help me get different perspectives.

Absolutely, your focus in school seems to be teaching you that tightness in sound and work. On the topic of friends in music, how do you find collaboration currently, not in a past sense when it was just beat making for others, to shape how you approach creation?

When I say that making stuff for others was holding me back, I don’t mean that it’s a bad idea to make something with someone in mind, it’s just that I thought that I had to only make stuff for others because I couldn’t do it myself. I think it can be super fun to dip your hand in different genres you don’t normally gravitate towards and try to put your own spin on things. As long as I and the other person have mutual love and understanding of each other’s music it’s super rewarding to work together, even if it’s not my comfort zone.

Now in terms of your work alone currently, how are you approaching your new creations and what changes are you trying to make within your sonics and lyrical qualities?

Lately, I’ve been trying super hard not to commit to one idea for what direction I want the song to go and just letting myself completely change the song if I’m not quite excited enough. It ends up being a super time-consuming process and I have 7 completely different versions of each song I’m working on, but I think it’s the best way to make something super crazy.

Is part of the process for you to attach an aesthetic component to your work? You do fit yourself into a more digital and computer-based visual world, but does that shape the music you make?

I really wish I had a better eye for visual art. I’ve always struggled with picking cover art and trying to represent the music visually so I typically leave that up to other people around me who have a better eye for design. My input is pretty much whether I like it or not.

Interesting, do you feel there is an importance to that aspect of an artist or is that something almost irrelevant and a total afterthought to you?

It depends on the artist. For some people image can be so central that it kind of outshines the actual music and I think there’s nothing wrong with that, it’s just not super important to me.

You’ve said a lot that you have this newfound freedom and a lot of new ability with your music. That asks though what goals you are trying to achieve in the coming months and years and what milestones are key for you to hit?

I think right now I just hope to be able to reach a level where I can work with the people who I look up to and am inspired by. A sizeable audience would, of course, be cool too, but it’s less important to me.

Do you think part of your coming goals revolve within the live setting and if so, how do you hope to individualize it to your own artistry?

Live performing is something I’m still very new to. I’ve never played original songs at a show, I’ve just done DJ sets here and there. It’s definitely something I want to work on once I have more time, but right now, I’m focusing on just making more music. I want to make sure I can perform at a level that I’m proud of before I really start doing shows. I don’t want my shows to be me just singing over a backing track, it’s gotta be crazy.

Right right, it has to match the level of energy in the tracks. Do you plan to make it more of a show than just a performance? The idea of adding layers beyond just the songs and making it a full-fledged universe with the work?

Something like that, yeah. I’m not sure what it would look like but I want it to be memorable. I feel like I go to a lot of boring shows.

As a closing idea, what do you want the mark of LAN Party and your art to be in the future when it's all said and done and what do you want it to mean to the larger musical consciousness?

I hope that people think I tried to make something different from what was already out there, whether it be good or bad. I think the biggest contribution you can make is to make something that doesn’t yet exist.

Absolutely, that’s such a beautiful way to look at it. Do you have anyone to shoutout or promote? The floor is yours.

Chase Alex and Silver Sphere are the future of music.

                                                        -

Listen to LAN Party on Apple Music and Spotify

Follow on Instagram and Twitter

                                                        -

Words and Interview by Guy Mizrahi

[ghostsapphic]

lover: track by track review

on friday lover finally dropped! for the past few months i’ve been enjoying the hype and the singles that were released beforehand. i felt like this album wouldn’t let me down the way reputation did, even though i definitely like rep a lot more now than when it was released. but while reputation was an album that I had to really grow to like, lover had me hooked from the first listen. i decided to write down how i feel about every song and then end it with my favourites and least favourites.

i forgot that you existed: this song is a really good intro to the album. it tells you that taylor has grown to a place where she can finally not care what people think of her. i love the lyrics of this one, but i think the music could’ve been a lot better. it seemed very repetitive and i think the chorus should’ve been switched up a little more. though after a few listens i decided that the lyrical content more than made up for that. 

favourite line: “lived in the shade you were throwing til all of my sunshine was gone”

cruel summer: initially i thought this song was way too over the place for me, but now after a few listens i’ve come to really love this song. it gives me a very specific image in my mind. it’s also quite unlike all the other love songs on this album. most of them are about very wholesome peaceful love, but this one gives me a chaotic summer fling vibe.

favourite line: “and I snuck in through the garden gate every night that summer just to seal my fate” and “I love you, ain't that the worst thing you ever heard?”

lover: lover is one of the most beautiful songs taylor has ever written, period. more than ever this album shows the importance of just existing with your partner. it paints a beautiful picture in my mind. i’m so glad that taylor has finally experienced the kind of love she’s been dreaming of for so long.

favourite line: “and there's a dazzling haze, a mysterious way about you dear, have I known you 20 seconds or 20 years?” and “you'll save all your dirtiest jokes for me, and at every table, I'll save you a seat, lover”

the man: taylor tackling sexism is so overdue. the lyrics are very real, but i also love the synths and taylor’s vocals on this one. this definitely isn’t one of her songs that i would listen to endlessly on repeat, but i still really like it!

favourite line: “they'd say I played the field before I found someone to commit to, and that would be okay for me to do, every conquest I had made would make me more of a boss to you”

the archer: this is probably the best song on the album lyrically. taylor gives us a window into her insecurities and fears about life, and she doesn’t spare any punches. the only flaw this song has is the repetitive instrumental, but i do like how it gets more intense towards the end.

favourite line: “i cut off my nose just to spite my face”, “i never grew up, it’s getting so old”, “and all of my heroes die all alone”, and “cause all of my enemies started out friends”

i think he knows: i absolutely love the chorus on this one. it also has one of the best baselines on the whole album.

favourite line: “it's like I'm 17, nobody understands, no one understands”

miss americana & the heartbreak prince: this is one of her smartest songs. there’s a double meaning to everything she says; it could be about her image, or it could be about politics in america. every word she spits out is fiery. i’m so glad she didn’t let go of all of her anger and darkness after reputation.

favourite line: “american glory faded before me, now I'm feeling hopeless, ripped up my prom dress, running through rose thorns, I saw the scoreboard and ran for my life” and “it's you and me, that's my whole world, they whisper in the hallway, “She's a bad, bad girl””

paper rings: this song is so adorable! i heard some people describe it as a more upbeat version of lover, which is totally true. i can imagine this becoming one of my go to upbeat taylor songs.

favourite line: “went home and tried to stalk you on the internet, now I've read all of the books beside your bed”

cornelia street: unlike most fans i really don’t get this song. in fact i find it kinda boring. maybe it’ll be a grower but for now there’s nothing really memorable for me.

favourite line: “and baby, I get mystified by how this city screams your name, and baby, I'm so terrified of if you ever walk away, I'd never walk cornelia street again”

death by a thousand cuts: I have very mixed feelings on this one. i think it had the potential to be one of my favourites but the piano part on the verses is so annoying. it completely ruined the song for me for me. plus, it has really good lyrics too! i wish i liked it more but for now i don’t think i’ll listen to it much.

favourite line: “i look through the windows of this love, even though we boarded them up, chandelier's still flickering here, cause I can't pretend it's okay when it's not”

london boy: i really like this song. it’s very lighthearted and even funny at some points. it also has an amazing outro (i love the way she sings “i fancy you”). though i do get why some people are hating on it. it has super stereotypical lyrics, but i don’t think they’re supposed to be taken too seriously.

favourite line: “but something happened, I heard him laughing, i saw the dimples first and then I heard the accent”

soon you’ll get better (feat. the dixie chicks): THIS SONG!!!!!!! as the most vulnerable song on the album i can’t imagine myself coming back to it much since it’s so heart wrenching. but other than that the lyrics are beautiful and i love how it’s a lowkey collaboration. all of their vocals are really good too.

favourite line: “i'll paint the kitchen neon, i'll brighten up the sky, i know i'll never get it, there's not a day that I won't try” and “and I hate to make this all about me, but who am i supposed to talk to, what am I supposed to do, if there's no you?”

false god: this song is extremely sexual. i kinda can’t believe some of the lyrics to this song. it’s super groovy and has great lyrics. i love the sax parts too.

favourite line: “and I can't talk to you when you're like this, staring out the window like I’m not your favourite town, i'm new york city”

you need to calm down: i really loved taylor getting political on this album. i absolutely love her sarcastic attitude in this song. it has some of the most memorable lines of this album too. that combined with the upbeat instrumentals makes this one of my go to uplifting taylor songs.

favourite line: “sunshine on the street at the parade, but you would rather be in the dark ages, just making that sign, must've taken all night”

afterglow: i can’t describe why i like this song so much. i absolutely love the echo-y instruments, and they make her voice sound so good! the lyrical content is also really good, but i think the song sounds so nice already that i can’t really focus on that. i have a feeling that this song will end up becoming one of her more slept on songs. i haven’t seen heard many people talk about it, but i hope i’m wrong.

favourite line: “hey, it's all me, in my head, i'm the one who burned us down”

me! (feat. brendon urie): i think it was mainly the hype that drew me to this song at first. i definitely don’t like it as much as when i first heard it, but it’s still a fun bop, and I love the collaboration. and there is no song on this album that could’ve got me as excited for the album as this one did. even now it still brings a smile to my face.

favourite line: “but one of these things is not like the others, like a rainbow with all of the colours, baby doll when it comes to a lover, i promise that you'll never find another like me” and “girl, there ain't no i in team, but you know there is a me” (and no, i don’t care how cheesy it is)

it’s nice to have a friend: i think in any other context this song wouldn’t have been as good as it is here. it’s very simple since it’s almost like an intermission song preparing you for daylight. i probably won’t listen to it much outside of the album, but it certain serves its purpose. i also like how different the instrumentals are from the rest of the album.

favourite line: “something gave you the nerve to touch my hand, it's nice to have a friend”

daylight: WOW. what a great way to end the album. it’s not as exciting as the rest of the album, but it’s lowkey and introspective. i think this song is what makes this album a cohesive story, more so than any other album she’s made before. sidenote: reputation and lover is the most iconic two part story ever and you can’t change my mind.

favourite line: “maybe you ran with the wolves and refused to settle down, maybe I've stormed out of every single room in this town” and “i once believed love would be burning red, but it's golden”

FINAL THOUGHTS

top 5 favourites: lover, miss americana & the heartbreak prince, cruel summer, afterglow, you need to calm down (honourable mention to i forgot that you existed and daylight)

top 3 least favourites: cornelia street, death by a thousand cuts, ME! (though i don’t dislike any of these songs at all! this album is just that good)

also i wanna try ranking taylor’s discography with lover, but it’s super hard for me since i think it’s very mood dependent. fuck it, i’ll try anyway.

speak now > fearless > lover > 1989 > reputation > red > taylor swift